F3

1st AD Protocol (Cheat Sheet)

This is a streamlined “cheat sheet” for seasoned 1st ADs. Twirl open any callout and the complete description of that step will be displayed. Please remember that all GREEN CALLS are made over the radio and are repeated by the 2nd AD, while all BLUE CALLS are made to on-set crew only and are not repeated by the 2nd AD.

Daily Protocol

Morning Meeting

We are having the morning meeting
  • Precisely at call time, the 1D gathers the crew by the trucks for the morning meeting. The 1D goes over the logistics of the day and addresses safety concerns.
  • COVID: Due to the congregation of all crew members, the morning meeting should ideally be performed outside. If the space does not permit all crew to congregate with physical distancing, the crew should be divided into smaller groups and the meeting should be repeated for each group.
Work safely, everyone
  • This concludes the morning meeting. 1D then gathers DR, DP, SS, 2C, and goes to set.

WORKING OUT THE BLOCKING

Clear the set for blocking
  • If DR is ready, the 1D asks 2D to escort the actors to set, so that DR and actors can work out the blocking. During this time, 1D manages crew staging, while periodically monitoring DR.
Are we ready to mark the blocking?
  • If DR is ready, 1D invites DP, SS, and 2C to set and oversees the determination of coverage.

WORKING OUT THE COVERAGE

Observe the crew working out the coverage
  • DR and DP watch the action that’s been worked out with the actors. Together they discuss any changes. 1D watches and checks that: DP watches the coverage through a viewfinder or lens; SS watches eyelines and notes coverage plan; 2C marks the actors’ stopped positions with colored tape.
  • COVID: Physical distancing must be maintained during the laying down of marks. Either the actors should step back while the 2C lays down the mark, or the actor should be provided tape to lay down their own mark.
Are we ready for the New Deal?
  • Only when the plan is agreed upon, 1D calls:

NEW DEAL

We have a New Deal
  • 1D confirms all department heads are present. DR shows the action.
  • COVID: If physical distancing is not possible due to space limitations, the New Deal should be repeated for smaller clusters of department heads.
Questions on the blocking?
  • DR fields queries, then shows/explains coverage.
Questions on the coverage?
  • DR fields questions on the plan. 1D facilitates, making sure every department is anticipating issues.
Is the plan good?

NO
Troubleshoot

YES
Proceed

BUILDING IT

OK, let's build it. Thank you, First Team.
  • 2D escorts First Team (DR and actors) to base camp. 1D quietly gets a setup time estimate from the DP. (Note: No one else but 1D and DR need ask about time or guess how long things will take.) From this point on, 1D is quietly monitoring progress and updating department time estimates.
  • Ways of being helpful throughout this process include: “Let’s get the frame” … “Let’s get focus” … “Let’s get a boom line” … “Work quietly”
  • COVID: Crew must maintain physical distancing at all times, except for where a technical operation makes it impossible. Such moments should be kept to a bare minimum and undertaken with extreme caution. If the space does not permit crew members to maintain physical distancing, 1D must organize the staggering and rotation of different departments’ work. This is something that should have been identified during the tech scout, so a plan should already have been discussed for this in advance of the production day.
  • COVID: Camera placement should be more than six feet away from any actor. Any exceptions to this need to have been approved during Director’s Prep.
  • COVID: Set up video village in a location to minimize crowding around the monitor. Only two, physically distancing crew members may be at video village at one time, with priority given to DR and SS.
  • COVID: SM gives a sanitized wireless lav to each actor and instructs them how to secure the mic. If necessary, SM may secure the mic themselves, but the physical proximity should be kept to a minimum duration and an extra level of protection should be considered, such as a face-shield or a plexiglass divider.
Are we ready for camera rehearsal?

NO
Troubleshoot

YES
Proceed

Camera Rehearsal

Camera rehearsal is up. Stand by.
  • 2D asks DR if they wish to be present. DR either comes to set or 2D informs 1D to proceed without DR. (If DR does not come to set, 1D calls “action” and “cut” instead.)
  • COVID: Do not use actors for the camera rehearsal, and keep minimal crew on set.
Camera ready?
  • Check, or confirm by non-verbal eye contact.
Sound ready?
  • Check, or confirm by non-verbal eye contact.
We are going for camera rehearsal...
  • Action is called. Technical team runs shot.
...That's a cut on camera rehearsal
How was that for camera?
  • Check, or confirm by non-verbal eye contact.
How was that for sound?
  • Check, or confirm by non-verbal eye contact.

BAD FOR EITHER
Troubleshoot

GOOD FOR BOTH
Proceed

Camera ready for rehearsal?
  • Check, or confirm by non-verbal eye contact.
Sound ready for rehearsal?
  • Check, or confirm by non-verbal eye contact.

NO
Troubleshoot

YES
Proceed

Rehearsal

Essential personnel only, please.
  • COVID: The set is about to become a Zone A space, so 1D clears the set of all non-essential personnel.
First Team in, please
  • 2D brings DR and actors to set. Everything must be ready!
Everyone work quietly. First team is on set.
  • DR works with actors. (Note: Rehearsal moves directly into shooting. If any technical issue arise that cannot be solved immediately, 1D releases First Team until it is solved.)
  • COVID: Actors should ideally remain in masks during rehearsals. If masks need to be removed for any reason, consider deploying other protections, such as plexiglass barriers.
Rehearsal is up. Stand by.
  • 1D waits and confirms visually when DR is ready.
Quiet, please. We are going for rehearsal...
  • DR calls “action” and “cut.” This should be treated like it is a take by all set personnel. Make sure the set is locked up.
...That's a cut on rehearsal. Stand by.
  • While DR checks in with the actors, 1D checks in with camera and sound for feedback. 1D relays this information to DR, who chooses to rehearse again or proceed. Are we ready to shoot?
Are we ready to shoot?

NO
Call: “We are going again. Stand by.”

YES
Proceed

Last Looks

Picture is up. Last looks.
Camera ready?
  • Check, or confirm by non-verbal eye contact.
Sound ready?
  • Check, or confirm by non-verbal eye contact.
Director ready?
  • Check, or confirm by non-verbal eye contact.

NO
Troubleshoot

YES
Proceed

Going for picture

We are going for picture. Lock it up.
  • It’s GO time. Listen to ensure set is locked up. Be very sure EVERYONE is actually ready, especially DR and actors, before calling:
  • COVID: Slating should be at least six feet from any actors. If the lens or space does not allow for that, a pan over to the slate should be used instead.
  • COVID: Actors should remove their own masks. If the shot doesn’t permit them to keep the mask on their person, PD should provide a Ziploc bag with the actor’s name on it and PD should manage the Ziploc bags during takes.
  • COVID: If hair and makeup needs to make an adjustment due to the masks, this should occur swiftly.
  • COVID: If DR wants to go again quickly, and actors consent, masks can stay off between takes.
Roll sound...
  • If sound is being recorded on a dedicated field recorder, use Cadence for Dual-System Sound.
  • If sound is being recorded by the camera, use Cadence for Single-System Sound.
Cadence for dual-system sound

  • SM calls SPEED
  • 2C VOICE SLATES
  • 1C rolls camera and Camera Operator calls SPEED
  • 2C calls MARKER and clacks the sticks
  • Camera Operator calls FRAME
  • 1D calls MASKS OFF (actors remove masks)
  • DR calls ACTION, watches take, and calls CUT
  • 1D calls MASKS ON (actors replace masks)

Cadence for single-system sound

  • 1C rolls camera and Camera Operator calls SPEED
  • 2C VOICE SLATES
  • 2C calls MARKER and clacks the sticks
  • Camera Operator calls FRAME
  • 1D calls MASKS OFF (actors remove masks)
  • DR calls ACTION, watches take, and calls CUT
  • 1D calls MASKS ON (actors replace masks)

That's a cut on picture. Stand by.
  • 1D checks in with camera and sound to see if the take was good or if a technical issue may require another take.
  • 1D relays this information to DR, and checks to see if the DR would like to go again or move on to the next set-up.
Ready to move on?

NO
Repeat

YES
Proceed

Moving on

Thank you, First Team
  • 2D escorts the actors (and DR if desired) off set and the crew comes in to execute the next set-up.
  • COVID: After the First Team has left the set, 1D allows crew to re-enter the space.
We are moving on to... (describe next set-up)
  • Move on to the next planned set-up as indicated previously during the New Deal. 1D restates shot as previously described.
  • Return to BUILDING IT and proceed until all scene coverage is complete.
  • When the scene is complete, return to WORKING OUT THE BLOCKING for next scene.
  • Continue this process for the rest of the day.
  • During the day, if the production falls behind schedule or if any problems arise, 1D should be proactive in conferring privately with DR and/or DP on how to solve the problems. This can be done quietly and discreetly on set or during breaks, such as lunch.
  • COVID: Departments should sanitize equipment throughout the day during free moments, especially anything to be handled by others in the department.

Important Time-Based Items

Start of Day

First shot is off at (state time)
  • Recording the time of the first shot of the day (and the first shot after lunch) is an important item that is reported to the studio on the DPR.

Midday

That's lunch
  • At exactly the 6-hour mark after first call time Lunch must be called. If the team has already rolled on a set-up you can go into “Grace,” which means work must then be completed within 12 minutes. You cannot shoot past this or you are in meal penalty.
  • During lunch, 1D talks to DR and the DP about the rest of the day’s work and participates in making any adjustments to the plan and/or schedule to help make the day.
  • COVID: Boxed lunches should be delivered to the team spaces for each department, so as to avoid having people congregating around a single lunch table.
  • COVID: Since masks need to be off for eating, extra precaution must be taken. Eating outside with maximum distance between people is recommended.
  • COVID: Staggering the start time for lunch for different departments is recommended, if the schedule permits. Staggering the start time for lunch is required if physical distancing is not possible at the location.
Ten Minutes
  • Ten minutes before the end of lunch the 1st AD announces this to everyone.
We're back
  • This call marks the official end of lunch. All crew is required to return to work. 1D should remind everyone what set-up is first up after lunch.
  • COVID: After lunch, PR makes sure that high-touch surfaces get a sanitizing wipe down and each department sanitizes heavily used items of equipment.

End of Day

This is the Abby Singer
  • 1D alerts the crew that this is the second-to-last set up. (Be sure it actually is before announcing.) This is a morale boost as the day nears its end.
This is the martini
  • 1D alerts the crew that this is the last set up of the day. (BE SURE it actually is before announcing.) This is a bigger morale boost as the day nears its end.
That's a day (and/or picture) wrap for
(actor's name)
  • Crew applauds to thank the talent for the day’s work or for their work over multiple days on the whole picture.
That's a day (and/or picture) wrap for
(production name)
  • Crew celebrates a hard day’s work. “Picture Wrap” can be an emotional call after weeks of work on a feature.
Company Wrap
  • 1D talks to the DR and the DP about the next day’s work and any adjustments to the plan and/or schedule.
  • 1D signs off on the Daily Production Report (DPR), which is sent back to production by the 2D.
  • COVID: 1D makes sure that camera wrap happens no less than 60 minutes before company wrap, to allow sufficient time for loading out and cleaning the location.
  • COVID: Actors change out of wardrobe, preferably in a single-person occupancy changing room. PD places any wardrobe supplied by the production in a secure bag to be laundered if used again. If actors need to remove their masks, the changing room becomes a Zone A space.
  • COVID: Equipment should be reloaded back into the truck in a prescribed sequence. Only one crew member is permitted in the back of the truck at a time. Physical distancing must be observed at all times. Each department should clean equipment during wrap.
  • COVID: Doors Down Meeting should ideally be performed outside. If the space does not permit all crew to congregate with adequate physical distancing, the crew may divide up into departmental groups for separate, smaller doors down meetings.
  • COVID: 2D keeps access to location restricted until last crew member has left. The plan for sanitizing the location at company wrap must be completed before the 2D leaves the location.

Post Guidelines for Mixed Media

If you are utilizing media from a variety of different sources — such as video captured from different types of cameras or titles/graphics created outside of Premiere Pro — we need to make sure that the media is compatible with the post workflow. The basic rule of thumb is to match the specs for the Premiere Pro sequence settings as closely as possible for all of your media.

Premiere Pro sequence settings

The Premiere Pro sequence settings should be set to 1920×1080 24p Apple ProRes 422 with Square Pixels and Progressive Scan:

Mixed-media settings

Try to match the above sequence settings as closely as possible with your original media. If you’re unable to match the settings exactly, you should speak with the post hall staff in advance to confirm that your media will be compatible with the post workflow. As a general guide:

Frame rates:

  • 24.00 – Best
  • 23.98 – Good
  • 29.97 – OK, but not optimal (possibility of dropped frames)
  • 30.00 – OK, but not optimal (possibility of dropped frames)
  • 25.00 – Not good

Sound:

  • 24 bit 48k – Best
  • 16 bit 44k – OK, but not optimal
  • Note: .mp3 files are not your friend. Try and use .wav or .aiff files or convert your audio whenever possible to .wav or .aiff.

Aspect ratio:

  • 1.85.1, 2.40:1, or 1.37:1 are acceptable, but please check with instructors first and let them know of your intended ratio.
  • There are matte’s located in the extras folder on frame.io.

Titles and motion graphics:

  • If you create titles or motion graphics from another software program, render out with these settings: 1920 x 1080 24p ProRes 4444 (which includes an alpha channel).

Public Domain & Creative Commons Resources

The Internet is a wonderful place for finding videos, images, motion graphics, clip art, music, and sound effects that can be used in your films. Below is a list of resources to help with finding stuff that’s either in the Public Domain (belongs to all of us) or Creative Commons (licensed by the author for others to use).

Beware, however, that the Internet is also a terribly unreliable place and the burden of proof will fall on you to document that you actually have the rights to use any of the stuff you dig up, so that you have a clear chain of title on your film.

For works in the Public Domain, this can sometimes take a fair amount of research, as there is often unclear and unreliable information circulating about works that are supposedly in the public domain. Any works published in 1924 or earlier are now in the public domain. Any works published after 1924 should be assumed to be under copyright, unless otherwise confirmed. Also be aware that new versions of works public domain — e.g., the New York Symphony Orchestra’s recent recording of Beethoven’s 9th Symphony are copyrighted. In other words, you could perform the composition yourself and be okay, but you couldn’t use the New York Symphony Orchestra’s recording without clearing it first.

For Creative Commons work, some license types (such as “NoDerivs” and “ShareAlike”) are not compatible with the work we do, so you would not be able to use that work in your film. Generally speaking, you’ll need to look for works that are licensed either as “Attribution” or “Attribution-NonCommercial”. (Note, however, that many authors who’ve opted for a NoDerivs or ShareAlike license may be open to giving you permission to use their work if you contact them directly. If they are willing, you’ll need to follow the usual process of acquiring a licensing agreement for a copyrighted work.)

Videos

Images

Motion Graphics

Clip art

Music

  • Muse Open – classical music
  • Free Music Archive – interactive library of high-quality, legal audio downloads directed by WFMU, the most renowned freeform radio station in America.
  • Free music public domain
  • Freesound – a collaborative database of Creative Commons Licensed sounds.
  • Anthony Kozar – Composer and open-source programmer
  • Audionautix – The music on this site is the creation of Jason Shaw.
  • Bensound.com – Download royalty free stock music for YouTube and your multimedia projects.
  • Brett Van Donsel provides affordable music options for filmmakers, YouTubers, gamers, podcasters, advertisers and more. Most of the music is royalty free. 
  • Filmmusic.io – Over 600 tracks, free even for commercial use, primarily with cinematic music by Sascha Ende.
  • Gravity Sound – Free Music and Sound Effects for Personal and Commercial Use
  • Incompetech – Royalty free music by Kevin MacLeod
  • Josh Woodward – Acoustic indie rock singer/songwriter. Creative Commons Music.
  • King James – Royalty free music
  • Kongano.com – This site contains royalty-free mp3s for you to listen, download and do whatever you want with.
  • Natentine – Download the right royalty free music for YouTube videos, film, corporate videos, games and more.
  • Silverman Sound Studios – Background music for YouTube, videos, games, films, adverts, podcasts, anything! All totally free to download!
  • TechnoAXE – Royalty Free Music for your commercial/non-commercial videos or projects. This website has Techno, Dubstep, Metal, Rock or Soundtrack.
  • Tim Beek – Music for media
  • Twin Musicom – Innovative audio production
  • WOWA – Free music

Sound effects

Safety Bulletins

Safety Bulletins are researched, written, and distributed by the Industry-Wide Labor-Management Safety Committee for use by the motion picture and television industry. The Safety Committee is composed of guild, union, and management representatives active in industry safety and health programs.

Safety Bulletins are guidelines recommended by the Safety Committee. They are not binding laws or regulations. State, federal, and/or local regulations, where applicable, override these guidelines. Modifications in these guidelines should be made, as circumstances warrant, to ensure the safety of the cast and crew.

A PDF of all relevant Safety Bulletins must be attached to Call Sheets or otherwise distributed to affected employees. All crew are required to read distributed Safety Bulletins prior to commencing the work day. Failure to do so may result in disciplinary action, including immediate dismissal from the school.

General Safety

Animals

Artificial Haze

Chemicals and Flammable Materials

Electrical Safety

Environmental Concerns

Filming Equipment and Vehicles

Stunts and Special Effects

Water Hazards

Weapons

Weather

Caption

1st AD Protocol

Overview

This document is intended to serve as a guide to help 1st Assistant Directors understand the role, as well as to supply set-specific jargon and the proper sequence of “callouts,” which are only a small part of the 1st AD’s job.

The role of the 1st AD is an important and multi-faceted one, involving organization, anticipation, communication, problem-solving, leadership, support, morale-building, time-budgeting, and resource allocation. It is a role that is critical in planning and scheduling a film during prep, and one that is vital for smooth set operation during production. The 1st AD runs the set and works just as hard as either the DP or the Director.

It is the responsibility of the 1st AD to know where everyone is, so crew must inform the AD department if they briefly leave set (e.g., “I’m 10-1”). The 1st AD always remains by camera; if the show has a base camp away from set, the 1st AD should communicate with the 2nd AD by radio. The 1st AD tracks the time but does not harass people about it. Good ADs need never raise their voice because they have not allowed things to reach that point. Above all else, it is the 1st AD’s job to watch, facilitate, and anticipate problems for the betterment of the film, not simply to “make the day.”

GREEN CALLS
ARE MADE OVER THE RADIO AND REPEATED BY 2ND AD

BLUE CALLS
ARE MADE ONLY TO ON-SET CREW AND NOT REPEATED BY 2ND AD

Daily Protocol

Having already been instrumental in helping to schedule the order of shots and estimating the time for each, a typical day for the 1st AD on set goes as follows. Note: On shows with smaller crews – such as F1s and F2s – some of the crew positions listed in this protocol may not have a dedicated crew member performing the role. If there is not a dedicated 2nd AD, the 1st AD should either assume those responsibilities or delegate them to another person. If there is not a dedicated Script Supervisor or 2nd AC, the Producer is responsible for making sure that other crew members cover the relevant tasks described in this protocol.

Morning Meeting

We are having the morning meeting
  • Precisely at call time, the 1D gathers the crew by the trucks for the morning meeting. The 1D goes over the logistics of the day and addresses safety concerns.
  • COVID: Due to the congregation of all crew members, the morning meeting should ideally be performed outside. If the space does not permit all crew to congregate with physical distancing, the crew should be divided into smaller groups and the meeting should be repeated for each group.
Work safely, everyone
  • This concludes the morning meeting. 1D then gathers DR, DP, SS, 2C, and goes to set.

WORKING OUT THE BLOCKING

Clear the set for blocking
  • If DR is ready, the 1D asks 2D to escort the actors to set, so that DR and actors can work out the blocking. During this time, 1D manages crew staging, while periodically monitoring DR.
Are we ready to mark the blocking?
  • If DR is ready, 1D invites DP, SS, and 2C to set and oversees the determination of coverage.

WORKING OUT THE COVERAGE

Observe the crew working out the coverage
  • DR and DP watch the action that’s been worked out with the actors. Together they discuss any changes. 1D watches and checks that: DP watches the coverage through a viewfinder or lens; SS watches eyelines and notes coverage plan; 2C marks the actors’ stopped positions with colored tape.
  • COVID: Physical distancing must be maintained during the laying down of marks. Either the actors should step back while the 2C lays down the mark, or the actor should be provided tape to lay down their own mark.
Are we ready for the New Deal?
  • Only when the plan is agreed upon, 1D calls:

NEW DEAL

We have a New Deal
  • 1D confirms all department heads are present. DR shows the action.
  • COVID: If physical distancing is not possible due to space limitations, the New Deal should be repeated for smaller clusters of department heads.
Questions on the blocking?
  • DR fields queries, then shows/explains coverage.
Questions on the coverage?
  • DR fields questions on the plan. 1D facilitates, making sure every department is anticipating issues.
Is the plan good?

NO
Troubleshoot

YES
Proceed

BUILDING IT

OK, let's build it. Thank you, First Team.
  • 2D escorts First Team (DR and actors) to base camp. 1D quietly gets a setup time estimate from the DP. (Note: No one else but 1D and DR need ask about time or guess how long things will take.) From this point on, 1D is quietly monitoring progress and updating department time estimates.
  • Ways of being helpful throughout this process include: “Let’s get the frame” … “Let’s get focus” … “Let’s get a boom line” … “Work quietly”
  • COVID: Crew must maintain physical distancing at all times, except for where a technical operation makes it impossible. Such moments should be kept to a bare minimum and undertaken with extreme caution. If the space does not permit crew members to maintain physical distancing, 1D must organize the staggering and rotation of different departments’ work. This is something that should have been identified during the tech scout, so a plan should already have been discussed for this in advance of the production day.
  • COVID: Camera placement should be more than six feet away from any actor. Any exceptions to this need to have been approved during Director’s Prep.
  • COVID: Set up video village in a location to minimize crowding around the monitor. Only two, physically distancing crew members may be at video village at one time, with priority given to DR and SS.
  • COVID: SM gives a sanitized wireless lav to each actor and instructs them how to secure the mic. If necessary, SM may secure the mic themselves, but the physical proximity should be kept to a minimum duration and an extra level of protection should be considered, such as a face-shield or a plexiglass divider.
Are we ready for camera rehearsal?

NO
Troubleshoot

YES
Proceed

Camera Rehearsal

Camera rehearsal is up. Stand by.
  • 2D asks DR if they wish to be present. DR either comes to set or 2D informs 1D to proceed without DR. (If DR does not come to set, 1D calls “action” and “cut” instead.)
  • COVID: Do not use actors for the camera rehearsal, and keep minimal crew on set.
Camera ready?
  • Check, or confirm by non-verbal eye contact.
Sound ready?
  • Check, or confirm by non-verbal eye contact.
We are going for camera rehearsal...
  • Action is called. Technical team runs shot.
...That's a cut on camera rehearsal
How was that for camera?
  • Check, or confirm by non-verbal eye contact.
How was that for sound?
  • Check, or confirm by non-verbal eye contact.

BAD FOR EITHER
Troubleshoot

GOOD FOR BOTH
Proceed

Camera ready for rehearsal?
  • Check, or confirm by non-verbal eye contact.
Sound ready for rehearsal?
  • Check, or confirm by non-verbal eye contact.

NO
Troubleshoot

YES
Proceed

Rehearsal

Essential personnel only, please.
  • COVID: The set is about to become a Zone A space, so 1D clears the set of all non-essential personnel.
First Team in, please
  • 2D brings DR and actors to set. Everything must be ready!
Everyone work quietly. First team is on set.
  • DR works with actors. (Note: Rehearsal moves directly into shooting. If any technical issue arise that cannot be solved immediately, 1D releases First Team until it is solved.)
  • COVID: Actors should ideally remain in masks during rehearsals. If masks need to be removed for any reason, consider deploying other protections, such as plexiglass barriers.
Rehearsal is up. Stand by.
  • 1D waits and confirms visually when DR is ready.
Quiet, please. We are going for rehearsal...
  • DR calls “action” and “cut.” This should be treated like it is a take by all set personnel. Make sure the set is locked up.
...That's a cut on rehearsal. Stand by.
  • While DR checks in with the actors, 1D checks in with camera and sound for feedback. 1D relays this information to DR, who chooses to rehearse again or proceed.
Are we ready to shoot?

NO
Call: “We are going again.
Stand by.”

YES
Proceed

Last Looks

Picture is up. Last looks.
Camera ready?
  • Check, or confirm by non-verbal eye contact.
Sound ready?
  • Check, or confirm by non-verbal eye contact.
Director ready?
  • Check, or confirm by non-verbal eye contact.

NO
Troubleshoot

YES
Proceed

Going for picture

We are going for picture. Lock it up.
  • It’s GO time. Listen to ensure set is locked up. Be very sure EVERYONE is actually ready, especially DR and actors, before calling:
  • COVID: Slating should be at least six feet from any actors. If the lens or space does not allow for that, a pan over to the slate should be used instead.
  • COVID: Actors should remove their own masks. If the shot doesn’t permit them to keep the mask on their person, PD should provide a Ziploc bag with the actor’s name on it and PD should manage the Ziploc bags during takes.
  • COVID: If hair and makeup needs to make an adjustment due to the masks, this should occur swiftly.
  • COVID: If DR wants to go again quickly, and actors consent, masks can stay off between takes.
Roll sound...
  • If sound is being recorded on a dedicated field recorder, use Cadence for Dual-System Sound.
  • If sound is being recorded by the camera, use Cadence for Single-System Sound.
Cadence for dual-system sound

  • SM calls SPEED
  • 2C VOICE SLATES
  • 1C rolls camera and Camera Operator calls SPEED
  • 2C calls MARKER and clacks the sticks
  • Camera Operator calls FRAME
  • 1D calls MASKS OFF (actors remove masks)
  • DR calls ACTION, watches take, and calls CUT
  • 1D calls MASKS ON (actors replace masks)

Cadence for single-system sound

  • 1C rolls camera and Camera Operator calls SPEED
  • 2C VOICE SLATES
  • 2C calls MARKER and clacks the sticks
  • Camera Operator calls FRAME
  • 1D calls MASKS OFF (actors remove masks)
  • DR calls ACTION, watches take, and calls CUT
  • 1D calls MASKS ON (actors replace masks)

That's a cut on picture. Stand by.
  • 1D checks in with camera and sound to see if the take was good or if a technical issue may require another take.
  • 1D relays this information to DR, and checks to see if the DR would like to go again or move on to the next set-up.
Ready to move on?

NO
Repeat

YES
Proceed

Moving on

Thank you, First Team
  • 2D escorts the actors (and DR if desired) off set and the crew comes in to execute the next set-up.
  • COVID: After the First Team has left the set, 1D allows crew to re-enter the space.
We are moving on to... (describe next set-up)
  • Move on to the next planned set-up as indicated previously during the New Deal. 1D restates shot as previously described.
  • Return to BUILDING IT and proceed until all scene coverage is complete.
  • When the scene is complete, return to WORKING OUT THE BLOCKING for next scene.
  • Continue this process for the rest of the day.
  • During the day, if the production falls behind schedule or if any problems arise, 1D should be proactive in conferring privately with DR and/or DP on how to solve the problems. This can be done quietly and discreetly on set or during breaks, such as lunch.
  • COVID: Departments should sanitize equipment throughout the day during free moments, especially anything to be handled by others in the department.

Important Time-Based Items

Start of Day

First shot is off at (state time)
  • Recording the time of the first shot of the day (and the first shot after lunch) is an important item that is reported to the studio on the DPR.

Midday

That's lunch
  • At exactly the 6-hour mark after first call time Lunch must be called. If the team has already rolled on a set-up you can go into “Grace,” which means work must then be completed within 12 minutes. You cannot shoot past this or you are in meal penalty.
  • During lunch, 1D talks to DR and the DP about the rest of the day’s work and participates in making any adjustments to the plan and/or schedule to help make the day.
  • COVID: Boxed lunches should be delivered to the team spaces for each department, so as to avoid having people congregating around a single lunch table.
  • COVID: Since masks need to be off for eating, extra precaution must be taken. Eating outside with maximum distance between people is recommended.
  • COVID: Staggering the start time for lunch for different departments is recommended, if the schedule permits. Staggering the start time for lunch is required if physical distancing is not possible at the location.
Ten Minutes
  • Ten minutes before the end of lunch the 1st AD announces this to everyone.
We're back
  • This call marks the official end of lunch. All crew is required to return to work. 1D should remind everyone what set-up is first up after lunch.
  • COVID: After lunch, PR makes sure that high-touch surfaces get a sanitizing wipe down and each department sanitizes heavily used items of equipment.

End of Day

This is the Abby Singer
  • 1D alerts the crew that this is the second-to-last set up. (Be sure it actually is before announcing.) This is a morale boost as the day nears its end.
This is the martini
  • 1D alerts the crew that this is the last set up of the day. (BE SURE it actually is before announcing.) This is a bigger morale boost as the day nears its end.
That's a day (and/or picture) wrap for
(actor's name)
  • Crew applauds to thank the talent for the day’s work or for their work over multiple days on the whole picture.
That's a day (and/or picture) wrap for
(production name)
  • Crew celebrates a hard day’s work. “Picture Wrap” can be an emotional call after weeks of work on a feature.
Company Wrap
  • 1D talks to the DR and the DP about the next day’s work and any adjustments to the plan and/or schedule.
  • 1D signs off on the Daily Production Report (DPR), which is sent back to production by the 2D.
  • COVID: 1D makes sure that camera wrap happens no less than 60 minutes before company wrap, to allow sufficient time for loading out and cleaning the location.
  • COVID: Actors change out of wardrobe, preferably in a single-person occupancy changing room. PD places any wardrobe supplied by the production in a secure bag to be laundered if used again. If actors need to remove their masks, the changing room becomes a Zone A space.
  • COVID: Equipment should be reloaded back into the truck in a prescribed sequence. Only one crew member is permitted in the back of the truck at a time. Physical distancing must be observed at all times. Each department should clean equipment during wrap.
  • COVID: Doors Down Meeting should ideally be performed outside. If the space does not permit all crew to congregate with adequate physical distancing, the crew may divide up into departmental groups for separate, smaller doors down meetings.
  • COVID: 2D keeps access to location restricted until last crew member has left. The plan for sanitizing the location at company wrap must be completed before the 2D leaves the location.

VFX Scope Checks

During the development process of the F3, BTH and MTH cycles, there are a series of VFX scope checks, to make sure that shows are not writing checks that cannot be cashed. The Head of Visual Effects sends out a survey near the start of development to assess how many shows are considering visual effects. In-person meetings follow for shows that are considering visual effects. Near the end of the development phase, as shows enter pre-production, proof-of-concept meetings take place, wherein students show tests to demonstrate how they plan to execute any planned visual effects.

Foley Stage Operations

‼️ Safety guidelines ‼️

For safety reasons during the COVID-19 pandemic, we cannot allow free and open access to the ADR/Foley suite. All use must be approved and scheduled by college administration. No walk-ins will be permitted.

To mitigate safety risks, there will be some important rules to follow:

  1. Only one person on the Foley stage and one person in the control room will be permitted.
  2. Face masks must be worn during the session.
  3. Students are asked to bring in their own props. If you don’t have access to a particular prop, you can make a request to Thomas to check it out.
  4. Rags and disinfectant will be provided. At the start of the session, students should wipe down any surfaces before touching them. At the end of the session, students should again wipe down any touched surfaces. Please be as attentive as possible to this.
  5. There will be an off-day between shows to allow for the ventilation system to filter the air. Film school staff will also come in on this off-day to disinfect things, as a further precaution.

Scheduling sessions

Use the Scheduling Book in the staging area to reserve session(s) times and facilities needed. Circle/highlight the appropriate Control Room and/or the Foley Pits for the times needed and write in your name or production number:

–>

Setting up the server

Make sure you have saved and closed your project on the Post Hall.

Confirm that The_Server is mounted on the desktop:

If not, from the Finder menu bar select “Go” and navigate to “Connect to Server”:

Then, for the Server Address, enter film-post-fs01.film.fsu.edu

Contact the Post Hall staff if you do not know the username and password.

Setting up the session

Select and power any appropriate video monitor on the Foley Stage:

  • HDMI 1 is for Control Room A
  • HDMI 2 is for Control Room B

Open Nuendo 8 from the Dock. The Nuendo Hub should open. Select your project from the list on the right hand window or select ”Open Other” and navigate to your .npr project file in your project folder on the Server:

From the Nuendo menu bar select “Studio” and navigate to “Audio Connections”:

Confirm all devices (the Steinberg I/O box on the workstation) are connected and mapped to the correct input and output ports.

Input Tab: the ADR Mic input 1 should be mapped to the corresponding Device Port and Foley Mic Input 2 should be mapped to its corresponding port:

Output Tab: The DxStem, FxStem and MxStems (Left, Right, Center) should be mapped to their corresponding L,R,C Device ports:

The Steinberg I/O Box should be set to the MASTER Position and left volume control should be set to maximum, fully clockwise:

Right-click over the track header section to create/select new tracks:

Make a sufficient number of tracks set to MONO configuration. You can name the tracks and assign to the appropriate Output Buss (or Stem):

Select the appropriate Input Path from the drop-down window in the track header of the Inspector:

Open the (previously prepared) Spotting Marker sheet. Click the “e” in the track header:

Click the ADR tab on the lower left of the spotting sheet, select the cue you wish to run.

Pre and Post Roll can be set in the General Tab by selection the setting icon on the bottom right corner, Video options are set in the Video Tab.

Record Enable the appropriate track:

Have your talent give you a test read to set initial recording levels using the preamp gain controls on the Steinberg I/O box. Peak readings should be bouncing up through Green and just into the Yellow on the track meters:

Use the Yellow Talkback box to communicate with your subject. Remember they cannot hear you otherwise!!

Use the Rehearse button to rehearse the first cue and re-adjust recording levels as needed. Peak meter readings should dance into the Yellow area:

Recording takes

When you are ready to start making “Takes” press the RECORD button in the Spotting sheet to start recordings. Redirect the talent as necessary until you are satisfied with the new performances.

The takes will be stacked on top of each other, indicated by the grey cross hatch:

To reveal the takes list, select the event, then control-right click and select “To Front”:

To playback your takes, simply deselect the record enable and play the clip.

Wrapping the session

Pick up after yourself. It is considered highly unprofessional to leave the Foley Pits or Control Rooms a mess. (They are checked periodically.)

Picture Lock

At the end of the picture edit cycle, the Editor and Director will be assigned a time to formally lock picture. This means that the Lock Sequence must be completed by that time and the appropriate fields must be filled out in Motion.

Once picture locking is complete, the Editor and Director will work with the Post Staff to prep the film for the next phases of the post-production chain, which includes turn over for sound, color correction, and (if relevant) visual effects.

Create the Locked sequence

In Premiere Pro, correctly identify your locked sequence and save it in the Lock bin as Show#_Lock. For example, the locked sequence for 01F3 would be named 01F3_Lock.

Double-check the sequence settings by clicking on the Sequence drop-down menu and selecting “Sequence Settings.”

Your locked sequence settings should be as follows:

Build the front sequence

All locked sequences must have a “front sequence” at the start of the timeline that is formatted to Academy standards. This involves setting the sequence timecode to begin at 00:59:00:00 and building a front sequence that includes 30 seconds of bars-and-tone, 30 seconds of slate, the Academy leader (i.e., the countdown), and the FSU leader.

To begin, locate the front sequence materials (bars-and-tone, countdown, and FSU leaders).

CMPAFilmPost – 2_Extras – Front_Sequence

Import these into your Premiere Project in the Front Sequence bin. Their are two different FSU Leaders. One runs “Forward” and one runs in “Reverse”. Choose one.

Set your sequence to begin at timecode 00:59:00:00. To do this, click on the Sequence drop-down menu and select “Start Time…”

Then enter “00:59:00:00” in the pop up window.

At 00:59:00:00 on the timeline, insert the 30-second bars-and-tone clip from the Front Sequence bin.

At 00:59:30:00 on the timeline, insert a 30-second slate. You’ll need to create the slate yourself, using the title tool in Premiere Pro. Please keep it professional and include all the pertinent info:

At 01:00:00:00, insert the 8-second countdown from the Front Sequence bin. If everything is put together correctly, the “two-pop” on the countdown leader will fall exactly on 01:00:06:00. (This is very important!)

At 01:00:08:00, insert one of the 8-second FSU leaders from the Front Sequence bin.

At 01:00:16:00, line up the first frame of content to start there.

Your completed front sequence should now look like this:

Add titles and credits

The College has strict requirements for how titles and credits need to be formatted. Before building your titles, read the requirements here.

Any credits that are finished by picture lock should be inserted into your Lock sequence. For credits that are outstanding (such as those that will be generated in After Effects later) you should slug the time in your sequence with a “Temp Credits” title card. It is possible to insert and change credits after picture lock but your running time cannot change. For this reason it is important that any unfinished credits be slugged in.

The second-to-last thing in the end credits should be a 2-second logo card. The post staff will let you know which logo card to use.

CMPAFilmPost – 2_Extras – End_Logos

The last thing in the end credits should be a 2-second copyright card. Double-check that the card has the correct copyright year.

CMPAFilmPost – 2_Extras – Copyright

Condense tracks for color grading

Regardless of whether you are color grading your film in Davinci Resolve or in Premiere Pro, it is important to prep your timeline for coloring. For this reason, your video needs to be condensed onto as few video tracks as possible. It’s understood that, due to the nature of how some video dissolves are built, more than one track is sometimes necessary. The idea is to reduce the amount of tracks and media as much as possible and the end result should look something like this.

QC the locked sequence

The Director/Editor pair should watch the Final Format video looking for black frames or any other problems. Once your picture is locked it is locked!

Save the project

Lastly, once you are confident that you’re locked sequence is formatted correctly and ready for conforming and turnover, save a new version in your projects finishing folder, but add “Locked” to the file name.

CMPAFilmPost – 1_Projects – Show_Run – Project – 3_Premiere_Project

Assistant Editor Workflow (F3)

Overview

Synching is to be performed by the Assistant Editor (AE) on an assigned machine in the post hall. Look to the crew grid for the location and time.  The key tasks are to:

  • Import media into Premiere
  • Synchronize clips
  • Organize media in Premiere
  • Build, export, and review dailies sequences
  • Compile the Editor’s notebook

Media

Your Video and Audio files will already be copied to your machines local Media drive.

The audio will be saved here.

Audio – 2019_F3_Audio – Show – Production_Audio

The video will be saved here.

Video – 2019_F3_Editorial – Show

Premiere Project

The Premiere project also lives locally. It can be found by going to the Projects shortcuts on the desktop.

Projects – 2019_F3_Projects – Show

The bin structure is already setup for you and must be maintained. 

Import the ProRes Quicktimes into the appropriate bin.

03_Footage – Production – Day

Import theWAV files into the appropriate bin.

02_Audio – Production – Day

Synchronize Clips

Use the “merge clips” command in Premiere to sync the audio and video together. To make this easier you should create a keyboard shortcut for the “merge clips” command.

Select “Keyboard Shortcuts” from the drop down.
Type “merge” in the spyglass window to find the “merge clip” command.
Set “control + m” for the shortcut.

Double-click on the first video clip to open it in the Source Panel. Make note of the setup and take numbers that are on the slate.

Scroll up to the Audio bin and find the corresponding audio files that are labelled with the same setup and take numbers. Each take will have between one to four separate .wav files depending on how many microphones were used on set. More than likely, each take will have three separate WAV files (boom, radio, radio).

Command-select all the corresponding video and audio clips. With all your assets for the take highlighted use hit “control + m” to use your shortcut for “merge clips”.

A window will appear asking how to merge them:

  • Name the merged clip after the setup and take number (e.g., 2A_1)
  • Set the Synchronize Point as “Timecode”
  • Check “Remove Audio from AV Clip”
  • Click “OK” 

The newly merged clip will appear in the project panel outside of any folder.Open the merged clip in the Source Panel and confirm that it’s correctly synchronized. You can check this by watching the clapper one frame at a time. If the sync is good, scroll to the footage bin and change the label color on the clip you just merged (to help you remember how many you have done).

If for some reason the sync is wrong delete the merged clip and start again. Most likely it’s a case of highlighting the wrong takes and trying to merge them. It’s also possible that the sound mixer accidentally mislabelled a sound file, which will take a little detective work to locate the correct file. 

If that does not work, then you will need to sync manually by setting in-points on the corresponding audio and video files (or out-points, if a shot was tail-slated).

Open the video clip in the Source Panel and set an in-point on the first frame when the sticks are together.

Open each of the corresponding audio files in the Source Panel and set an in-point on the first frame that you can hear the clapper.

Command-select all the corresponding video and audio clips. With all your assets for the take highlighted, use your shortcut for “merge clips”.

A window will appear asking how to merge them:

  • Name the merged clip after the setup and take number (e.g., 3A_1)
  • Set the Synchronize Point as “In Points”
  • Check “Remove Audio from AV Clip”
  • Click “OK”

To check the sync on a clip you merged manually, you will need to place it into a sequence and extend the head of the clip to get some pre-roll to the clapping sound. Once you have checked it for sync delete the clip from the sequence.

If the sync is still incorrect, seek help from the Post Staff.

If you come across a clip that was labelled “MOS” on the slate, it means there are no corresponding audio files to sync. Instead, you should right-click on the clip to duplicate it. Then, rename the duplicate version whatever it was slated, with a suffix of “_MOS” (e.g., 3B_1_MOS). Then, move the duplicate version out of the Production Footage bin, so that it is grouped with all the merged clips.

Organize media in Premiere

After everything has been synchronized successfully, move the merged clips into the appropriate Scene bins.

Then fill in a brief description for each clip. This should be able to be found on the paper camera reports. We are not looking for a sentence but rather shorthand that you can use while editing to help you find what you need quickly. Later you add comments.

Build the Dailies Sequence

Under01_Sequences – Dailies you will find the prebuilt dailies sequence. Assemble the dailies sequence from the scene folders. It should include all the footage shot for the entire show.

Organize the merged clips in scene order (story order) and, within each scene, place the shots in the following order:

  1. Wide shots
  2. Medium shots
  3. Close-ups
  4. Inserts
  5. Charts

Since sound starts rolling before picture on set, you’ll notice that there’s excess audio media at the head (and sometimes also the tail) of each shot.

You’ll want the head and tail of each audio clip to line up with the head and tail of the video. To trim the audio, hold down Option and drag the head or tail of the audio track. The trimmed sequence should look like this.

Make a 5 second Slate to begin the dailies sequence and fill it out as below:

Exporting the Dailies Sequence

Once the dailies sequence is fully built, export the sequence to Frame.io using these instructions. Upload to the appropriate Dailies folder in Frame.io and point the render to save locally in the shows export folder.    

Exports – 2019_F3_Exports – Show

Editor Notebook

The Dailies Screening Notes form has spaces for scene number, date shot, and daily reel as well as several spaces for shots with scene and take number information. While watching the exported dailies on Frame.io fill out the screening notes with each shot and take according to the slate. Within the space for an individual shot, please include the scene and take number as well as a brief technical description of the shot (ex: WS, MCU, Dolly into an ECU.)

If there are obvious technical flaws with the shot such as improper camera speed or poor focus please make a brief note of it. Leave enough space to record the Directors notes later. Hole punch all of the screening notes and assemble along with the camera and sound reports in a three ring binder. Label the outside with the show number and name.

Congratulation, you are done! Get ready to edit!

Data Allocation (F3)

Below is the data allocation for each live-action production. If you would like to request additional data (e.g. for slow motion, vfx plates, etc), you must present the Data Allocation Approval form at the Production Prep, and get approval from the Prep faculty. Then submit to the Head of Production for final approval. 

Format2K ProRes 4444 Log
Frame Rate24fps
Data per minute2.4 Gb/minute
Final Draft Page Count6 pages
Shooting Ratio20:1
Shooting Days2 Days
Pages per day3 pages
Estimated data per day144 Gb
Estimated data per page48 Gb
Maximum Dailies Length
120 minutes
Maximum Dailies Size288 Gb

updated 1/9/20